A study of the complex relation between abstraction and concrete reality. The monolithic substance of concrete structures is alleviated by revealing its malleable condition of possibility: abstraction. Abstraction is channelled back into its meaning-giving material content: concretion. Marking the oscillating relationship between both dimensions, this piece tries to bridge a seemingly alienating gap between ideality and materiality by demonstrating how both sides constantly and incessantly work through and define each other.
What is concrete can be remodelled through abstraction; what is abstract needs to be translated into concrete reality to find its voice. Taking into account this interdependence allows us to rethink contemporary dualistic impasses, such as the link between urban planning and lived social reality in debates on social housing, between the virtual and the real, between theory and practice.
Window Stills Installation, 2014. Cardboard, photographic prints
An attempt to recreate the ambiguous feeling of watching; the lines between a friendly observing and voyeurism are blurred. Secretly shot photographs of people in their apartments are cropped and packed into a box with a peephole cut into the middle. By peeking into the constructions, the viewer is isolated from his or her surroundings and utterly absorbed by a new, eery atmosphere obscuring what it means to be a passive observer.
A still life of water. Raindrops pour into the frame, accumulate and break up. Water streams out of the tap and takes the shape of a jar, only to burst out and become formless. Natural states communicate with artificial infrastructures, both mirror each other imperfectly. A melancholy monologue.
Unheimlich Heimlich 5.1 Surround Sound Installation — 6 Minutes, 2016. Amplifier, 5 speakers, seat
An installation that uses sound to create a temporary illusion of space. It explores a fragile understanding of homeliness, a concept that is ordinarily associated with a feeling of security and comfort. Even though a home provides safety and isolation, the outside world eerily seeps in through windows, doors and walls.
This piece was inspired by Sigmund Freud’s Essay “The Uncanny”, in which he plays on the etymology of the German word “Unheimlich”, literally meaning “un-homely”, and claims that the feeling of the uncanny finds its origin not in what we find horrifying, but rather in the distortion of the familiar, of what we associate with our homes.